Ten Fundamental

Questions of
Curating

4/10
Why Mediate Art?

Maria Lind
 WHY MEDIATE ART? TEN FUNDAMENTAL QUESTIONS OF CURATING 99

Ten Fundamental Questions

of Curating Why Mediate Art?
Publishing director
Edoardo Bonaspetti
Text — Maria Lind
Editor Artwork — Marysia Lewandowska
Jens Hoffmann

Copy editor Vermittlung—“mediation” in German—signifies a transfer

Lindsey Westbrook
from one party to another, the pragmatic transmission of a
A project realized in partnership with message. It also stands for attempts at reconciling parties who
disagree on something: nations, for instance, or people in con-
flict. Although there is an abundance, even an overproduc-
Artistic director
Milovan Farronato tion, of traditionally didactic activities within art institutions
today, I believe that now is the time to think more and harder
Design
Studio Mousse about the mediation of contemporary art. About whom we as
artists and curators want to communicate with, and the as-
Issue #4
sociated questions of how art actually functions in contempo-
Why Mediate Art? rary culture. It is a seeming paradox: an excess of didacticism
by Maria Lind,
with artwork by and simultaneously a renewed need for mediation.
Marysia Lewandowska

Ten Fundamental Questions
of Curating
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five times a year by
Mousse Publishing
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please add: With the exception of
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The two different conditions to account for here, before the
dance with the question of mediation can begin, occupy dif-
ferent positions in discussions about art and curating. The
first is generally considered more annoying than useful by the
professional community. The second is by contrast little-dis-
cussed, even below the radar of most practitioners. I am refer-
ring to the educational and pedagogical approaches that are
in place at most art institutions. On the one hand they can be
overbearing, and they may even obscure the art. On the other
hand there is the increasing bifurcation between experimen-
tal, cutting-edge art and curating, and the ambition of institu-
tions to spread art beyond social and economic boundaries.
An effect of the latter condition is a growing sense of isolation
between spheres of interests and activities in the arts, not to
mention an almost total lack of mediation beyond relatively
closed circles in the more experimental arenas.
100 WHY MEDIATE ART?
The one institution that has played a greater role than any oth-
er in setting the standard for mainstream museum education
is the Museum of Modern Art in New York. The model that its
founding director Alfred Barr instigated in the 1930s did not
add pedagogy at the end of the exhibition-making process, as
icing on the cake, but rather integrated it into every exhibi-
tion. In the brilliant book Spaces of Experience: Art Gallery
Interiors from 1800 to 2000, the art historian Charlotte Klonk
demonstrates that exhibitions at MoMA have always been con-
sciously didactic, promoting Barr’s formalist view of art. His
main purpose was to refine the aesthetic sensibility of visitors
and to mold a mode of spectatorship based on what she calls
“the educated consumer,” in contrast to the 19th-century ideal
of the spectator as a “responsible citizen.” Despite Barr’s fa-
mous charts of stylistic developments and well-written, acces-
sible catalogue texts, the educational approach in his exhibi-
tions tended to be more visual and spatial than discursive. The
paintings were hung low on the white walls, and numerous
partitions created more [organized the?] wall space. The se-
lection of works and the display strategies themselves were of
utmost importance. “Points” were made in the exhibitions: for
example, in the 1936 exhibition Cubism and Abstract Art, the
identification of historical and non-Western visual sources for
20th-century Western geometric abstraction.
The fact that MoMA from the outset quite literally situated
itself as a mediator between industrial producers and distribu-
tors (a powerful interest group with a strong presence on the
board of trustees) and a “buying” audience cannot be under-
estimated. MoMA openly borrowed display techniques from
department stores and other commercial settings. And visitors
were considered not just consumers, who in conjunction with
certain exhibitions could even buy the displayed design ob-
jects in the museum shop, but tastemakers who were expected
to become responsible members of the emerging society of
TEN FUNDAMENTAL QUESTIONS OF CURATING 101
consumption. Thus market strategies and business interests
merged and shaped new ideals of spectatorship. Given MoMA’s
influential status, its approach was taken up at innumerable
other art institutions in all different parts of the world. The
idea of “winning people over,” of persuading them, was central
to MoMA’s didactics from the outset, just as it was in the con-
temporaneous advertising industry, which was itself coming
of age and transforming for the new modern era. Within this
largely commercial scheme, unconventional and “innovative”
art was accepted as long as the innovations remained on a for-
mal level and did not allude to, let alone provoke, any practical
overlap between the sphere of art and the sphere of social and
political action.
This should ring more than one bell for those familiar with
contemporary art museums and curating. Another familiar
phenomenon is the concept of the education or pedagogical
department. Despite the fact that its particular brand of curat-
ing was based primarily on integrated didacticism, in 1937 a
separate education department was started at MoMA. Under
the leadership of Victor E. D’Amico, it deviated from Barr’s
ideas about a more or less detached spectator and promoted
visitor participation. Instead of emphasizing enjoyment or
judgment of the art on the wall, it encouraged visitors to ex-
plore their own creativity. John Dewey’s pragmatist philosophy
and theories about art as an emancipatory activity with great
potential to stimulate political participation in democratic so-
cieties played a certain role. Nevertheless, in the cases of both
Barr’s educated consumer and D’Amico’s participant, a height-
ened sense of individuality was promoted. This was markedly
different from the collectivist approaches to spectatorship, in-
fluenced by Constructivism, that around the same time and
even before were promoted by artists such as El Lissitzky and
curators such as Alexander Dorner, both in Europe. Collective
spectatorship was inspired by the Russian Revolution and by
102 WHY MEDIATE ART?
Einstein’s theory of relativity. It encouraged a varied and active
experience through dynamic exhibition design, where things
looked different from different angles, while simultaneously
emphasizing the totality of the installation. It also promoted
ideas of shared, collective encounters with art.
Today, Barr’s didactic model of “educated consumer spectator-
ship” can easily be identified in the operations of most ma-
jor museums and other exhibiting institutions, from MoMA
in New York to Tate Modern in London to Moderna Museet
in Stockholm. The idea of “Constructivist spectatorship” has
been largely left behind, although it has hibernated and sur-
vived in the work of Group Material, the group around Shed-
halle in Zurich in the late 1990s, and artists such as Domin-
ique Gonzalez-Foerster, Philippe Parreno, and Liam Gillick.
At the same time museum practice in the United States has,
since the early 20th century, promoted itself as reaching out
to a wider audience. European welfare states have done some
of the same in the postwar period and in the name of equality
they have supported both broader access to high culture and
reformulations of what constitutes high culture. Educational
concerns are important, maybe even essential in democratic
societies. But this attitude often clashes with high-modernist
ideas about art not imposing itself on its viewers—that it is,
or at least should be, strong enough to stand on its own feet
and speak for itself, removed from “external” contexts. Which
leads to decontextualized “What do you see and what do you
feel” pedagogy.
Again the art in question does not typically challenge the sta-
tus quo; it is about enjoyment and judging. We can call this
method “the establishment of the canon,” relying mostly on
developments internal to art and certainly echoing Barr’s
ideas. This method aims at producing a genealogy of artists,
and to a certain degree also a sequence of accepted themes,
TEN FUNDAMENTAL QUESTIONS OF CURATING 103
whose work can be included in a master narrative of the his-
tory of art. Importantly, however, this maneuver happens at
the expense of more investigative approaches where a stated
ambition is to contextualize artistic practice and to study and
question current phenomena and inherited norms and pro-
cedures. In other words, to decode and recode artifacts and
activities that pertain to contemporary life, guided more by
what is interesting and relevant than by what is “pleasurable,”
“good,” and “lasting.” Nowadays this model can itself be con-
textualized within the widespread call for canons of culture,
blueprints of “eternal quality” to be implemented in school
and university curricula.
So what does this have to do with mediation? All of the above
count as forms of mediation, employed more or less con-
sciously: integrated didacticism, supplementary participatory
education and pedagogy, and finally narrative information de-
ployed both inside and outside the institution. This last was
historically generated by educational and pedagogical depart-
ments but nowadays it comes more and more from PR and
marketing people. Whereas the added participatory education
is based on an assumption that there is a deficiency among
the visitors—a gap to be bridged, a hole to be filled, or even
a conflict to be solved—the other two are concerned more
with a perceived lack of contact between parties, a “misunder-
standing,” or a conflict to be straightened out. The idea that a
sort of “dating service” is needed to put the right people and
“things” in touch with each other. At the same time, mediation
can be much more than this: It is essentially about creating
contact surfaces between works of art, curated projects, and
people, about various forms and intensities of communicating
about and around art. As a term, mediation seems to be open
enough to allow for a wider variety of modes of approaching
exchanges among art, institutions, and the outside world. In
short, mediation appears to provide room for less didacticism,
104 WHY MEDIATE ART?
less schooling and persuasion, and more active engagement
that does not have to be self-expressive or compensatory.
Let us return for a moment to the current abundance of didac-
ticism. It is an excess that pertains in equal measures to what
is typically considered the very nucleus of the craft of curat-
ing (for example, Barr’s model of selecting, installing, and in
other ways contextualizing work) and what is tagged onto a
curated project (gallery tours and workshops, wall texts, la-
bels, audio guides, et cetera). Whereas the latter is frequently
deemed over-didactic, the former is not commonly thought
of as “didactic” at all but rather as common practice, the nor-
mal thing to do. It is almost not visible, like curating before
Harald Szeemann—invisible hands selecting and arranging.
In addition to the type of curating described above (the di-
dactic establishment of the canon, with narrative information
added on), among the most common modes of interpellation
in art education within exhibiting institutions today remains
the participatory format promoted by D’Amico. Experience-
based guided tours and workshops where visitors are asked to
share what they see and what they think and feel about what
they see, to discover “the creator” in themselves, are part and
parcel of this.
The division of labor in larger art institutions involves the
educational and pedagogical departments taking responsibil-
ity for educating the audience, in essence for “fixing” what
ought to be the responsibility of other social institutions such
as schools, colleges, and universities. The collections and tem-
porary exhibitions departments take care of the more persua-
sive, integrated, and therefore probably more efficient didac-
tics. An interesting feature of D’Amico-style formats within
this scheme is that they are easy to avoid—we don’t have to
join in unless we really want to—as opposed to Barr’s model,
which is baked into the institution or exhibition. This is also
TEN FUNDAMENTAL QUESTIONS OF CURATING 105
the case with the many overly simplified and often promo-
tional wall texts, brochures, and other presumably generous
narrative techniques, which tend to render art at the same
time more simple and more spectacular. The pure promotion
has reached almost obscene levels, particularly in press releas-
es. Marketing and PR departments have gradually taken over
responsibilities that used to be shared between curators and
educators. In many art institutions, marketing and PR take the
lead on any added narrative, and they can for example decide
not to provide written information about a specific project,
even though it is up and running, because it detracts attention
from the blockbusters. It is not unknown for marketing and
PR people to interfere with the program itself, even.
But do we really need more mediation? Maybe what we should
call for is different types of mediation, and in other contexts.
As well as a heightened awareness of the specific forms of me-
diation that are already employed in institutions, not least the
persuasive mediation embedded within the traditional craft
of curating. We as professionals would certainly benefit from
methods that help us reflect upon what we do and how we do
it, as a form of consciousness-raising. Furthermore, most of
the methods of mediation in use today have been modeled
upon modern art, which functioned in radically different ways
than contemporary practice. Formats derived from one para-
digm are being applied to art from a different paradigm.
But most importantly, it is time to consider and take seriously
the fact that the art and curated projects at the forefront of
experimentation, which formulate new questions and create
new stories, are growing increasingly remote from the main-
stream. These sidestreams, many of which test various forms
of “Constructivist spectatorship,” trickle further and further
away from the situations where most people encounter art
and curated projects (large institutions in big cities), and here
106 WHY MEDIATE ART?
mediation, whatever type it may be, is marginal. This kind of
strategic separatism is in many ways a survival strategy in or-
der to guarantee other proportions of self-determination; the
mainstream is not particularly welcoming to the sidestreams
and the sidestreams prefer to stick to themselves. And yet the
inevitable result is self-marginalization, where only the al-
ready-converted are reached.
Another reason for asking what is the good of mediation: More
and more over the last decade, I have observed in emerging
curators and students of curating a relatively limited interest
in communicating about art beyond professional circles. This
pattern stands in stark contrast to the developments in main-
stream institutions discussed above, which suffer from too
much (and too much one-sided) didacticism. Together with
a number of colleagues I am partly to blame for this devel-
opment, having supported ideas around all kinds of experi-
mentation, both artistically and curatorially, advocating the
necessity to try out the unknown without having to constantly
glance at the reception. We have been motivated by the need
to create other ways of thinking and acting—a direct reaction
to a perceived stasis among mainstream institutions, includ-
ing their overly didactic modes of address. The experimenta-
tion has more or less only been possible in the sidestreams.
And I will continue to pursue it, but while trying to keep more
of an eye on how what we are doing might be communicated
beyond the confirmed believers. On how mediation can create
space for exchange with something “other.”
This limited interest in communication beyond the select au-
dience of one’s peers manifests itself in two tendencies among
younger curators and students. One foregrounds smart cura-
torial concepts and another privileges collaboration and new
production. The first one, let’s call it the “curatorial pirou-
ettes,” focuses on the ideas of the curator. Here art tends to
TEN FUNDAMENTAL QUESTIONS OF CURATING 107
be included based on illustrative or representational grounds
and the outcome is usually a thematic group exhibition. In this
category we can also include some of the more self-reflexive
curatorial models, which tend to focus on reworking struc-
tures and formats. The second one, which we can term the
“over-collaboration,” involves close collaboration between the
curator/student and an artist with the purpose of creating new
work. Although the rhetoric involves “avoiding traditional no-
tions of authorship” and “escaping individuality,” this intense
interaction between the two players often ends up being close
to a symbiosis. Others are kept outside, and the result is a
“super-artistic” subject who has two bodies instead of one and
is surprisingly self-expressive.
In both situations, a third term—a wedge to trigger a dialecti-
cal dynamism—is missing. Instead there is little exteriority,
almost no outside and very few “others.” Again, this is the op-
posite of the theoretical open-arms strategy of mainstream art
institutions. The curator/student creates a separate universe
for her/himself and her/his ideas or artist buddy. Of course
any show involves detailed work that needs to take place be-
hind closed doors, but I believe that the moment has come to
insist on experimentation while simultaneously attempting to
develop new forms of mediation—to consider earnestly the
question of what art does in culture, what its function can be
in society, and to be more generous with the material at hand.
And to shift the terms of the existing forms of mediation in
mainstream institutions in order to make room for other types
of exchanges, and possibly also to let art use more of its po-
tential.
Given that consumption is one of the most widely known and
accepted forms of engagement with the surrounding reality, we
should ask whether dismissing MoMA’s model of the “educated
consumer” is necessarily a good thing. Is it actually the fastest
108 WHY MEDIATE ART? TEN FUNDAMENTAL QUESTIONS OF CURATING 109

and most efficient means by which to reach new audiences,

or rather, to develop a different “exteriority”? Most likely this
model can be used in other ways, for different purposes. At
the same time I wonder if we have not already seen the emer-
gence of yet another model, that of “the entertained consum-
er,” where visitors arrive at the museum with the expectation
that they must be constantly amused and entertained. And yet
the collectivist spectatorship advocated by the Constructivists
continues to have an allure. The theoretician Irit Rogoff has
argued for a related version of spectatorship, or rather “terms
of engagement,” in which the physical participation that is
part of the 200-year-old art habitus carries the nucleus of a
qualitatively better form of democracy than the separation
offered by representative democracy. If we take Rogoff seri-
ously, “reaching new audiences” is less relevant than changing
the terms in which we talk about how we together produce a
public or semi-public space thanks to, with, and around art,
curated projects, institutions, and beyond.
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126 WHY MEDIATE ART?

Twitter Education

This is the time when art is mediated to its audience not only through lectures,
seminars, artists’ talks, guided tours and publications but when mediation inter-
venes as a pulsating stream of immediacy, mixing the promotional intentions of the
institution with the visitors’ desires of sharing their observations and responses.
The banal is closely entangled with the political, the randomness is attached to a
system as announced by the ubiquitous banner: Twitter is a rich source of instantly
updated information. It's easy to stay updated on an incredibly wide variety of top-
ics. By utilising the social networking platforms such as Facebook, YouTube and
Twitter that emerged over the past few years, the communication between the art
institutions and their audiences has grown into a real time stream of information
snippets.

What appears on the following pages are graphs mapping tweets sent by three ma-
jor art institutions, Tate in London, MOMA in New York and Moderna Museet
in Stockholm to communicate and mediate their activities as they are enmeshed
together with Maria Lind’s text. The two text streams have been aggregated as a
word chain, where each word is connected with a link to the following word in
the sentence. Each word is represented only once as a node in the chain, but in
many cases with multiple connections, edges, to the following words. The result-
ing visualisation is of a network based on the structure of the words in use. The two
different sources are distinguished where red lines represent the links between the
words in the tweets sent by the art institutions, while the black lines show the flow
of the essay written by Maria Lind. The tweets cover the period between 2009-09-
16,15:18 and 2010-11-29 16:03. The graphs were developed in collaboration with
Fabian Neuhaus www.urbantick.blogspot.com

The mapping of this flow expresses a desire and interest in distributive networks
without restriction; it is the desire of being in touch and engaged, of organising
one’s thoughts and sharing them instantly. The knowledge ecologies of a wider
world intersect in unexpected ways and point to the role mediation plays in shap-
ing our current social and political life.

www.marysialewandowska.com
Enrico David Repertorio Ornamentale

31 maggio / 25 settembre 2011,

Fondazione Bevilacqua La Masa, Venezia
con il contributo di Fiorucci Art Trust e Vhernier

Enrico David, Untitled, 2011. Pencil on paper. Courtesy the artist and Michael Werner Gallery New York.